Mother’s Line as Logarithmic Spiral

This place where wily warehousemen and clerks
traded pots and pans for ermine and marten
This place—Voilà un diamant du Canada
quartz crystals exhibited back home
This place—the land God gave Cain—
rocky shores now slowly sinking into the sea
This invented America, this illusory kingdom
This place took her.

Her bones lie in hard ground in Vancouver
with kababayan whose markers define her boundaries.
She bought this piece of property.
Truly Canadian now: Daughter of the Soil.

Something made more out of mere discovery.
Something made attractive so as to justify
that transpacific adventure to conquer new territory
where she danced, loved, founded a community.
Life continuum. No ubi sunt, no exiled lament, no loss, no ruin
but siþ

transforming that displaced Visayan girl who said—

I’m ninety.
They’re all dead there now.
I have nothing to return to. —-

as we sat over tea and muffins at her kitchen table.

……….

Despite purple skies and golden sand, mother,
you’re not here in Onay Beach in your natal Samar.
The water gasps in and out like the heartbroken woman
whose hanged body gave this name—diin ba ang may nag-onay
is this where she destroyed herself?
You rejected her.
Empty seashells prick my feet.
At the edge, in the open ending, a mollusk had built
an equiangular spiral, gnomonic, marvellous,
growth curves elegantly expanded shaped by its lifespan,
not a circular spiral for that would have suffocated it
like rope around one’s neck.

Posted in 54: TRANSPACIFIC | Tagged

ginen tidelands

~

“The fallen Latte is the sign. It is from within the row of Latte that we feel our strength. It is the
severred capstone that gives us Their message, ‘Ti monhayon I che’cho.’ We will not rest until the
Latte is whole.”

                              —Cecilia C. T. Perez
                              from Signs of Being—A Chamoru Spiritual Journey



~

“these latde stones
were moved from
the village of mepo
behind the military fence
to a museum—
but then they were moved
again to this park
for tourists

              [early prelatte period : prior to 1485 bc—500 bc]

“to build i guma’latte’
a traditional house
start with the foundation
the latde—

“find a stone that resembles
the haligi, the pillar
then find a coral head from the reef
for the tasa, the capstone

“to build larger latde
you have to go to the quarry

“first outline the shape of
the haligi and the tasa
in the stone like writing
the bones of a house

“then dig

              “an act

              relative to
              changing

              the official name
              of guam

              to its name in
              Chamorro

              Guåhan

“to move the tasa and haligi
[we] need rope

“peel the bark from
the hibiscus
cut into strips
dry and weave with
your hands
like this

              [intermediate prelatte period : 500 bc—1 ad]

or get coconut husk
soak and dry
and braid the strands
like this

                             “from
                            guaha :
                             there is
                             have
                            exist

                            the final ‘n’
                             denotes
                             possession of

                             Guåhan : a place that has
                            a place of resources
                             all-encompassing

“then [we] pull
the stones from the quarry
pull with your legs pull with
your arms your back pull with
your shoulders pull
from your bones and
breath and
blood

              [transitional prelatte period : 1 ad—1000 ad]

“pull the stones
to the land
that will hold the house

                                                                                    here?

“dig
to root
the haligi
fill the space
with rocks

              [larger latte period : 1000 ad—1521 ad]

“build a ramp of dirt to
the top of the haligi pull
the tasa and place it
on top

              “unlike Guåhan
              it is difficult to decipher
              the base word guam
                                          or its etymology

              guam
                            was predominately referred to as Guåhan
              from 1521 until 1898
                            in 1898 the treaty of paris signed by spain and us
              referred to the island as

              guam

              words instill ownership

“when all the latde stones
are placed in parallel rows then
[we] can build the house above

“the spanish called them casa
de los antigos
house
of the ancients
before they destroyed them
but many latde stones survived
just like us

              “the legislature finds that guam
                            shall herein after be
              Guåhan

              all references to guam shall be renamed
              or understood to refer to Guåhan

              And shall be
              the official designation

              of the island

“in the space beneath the house
within the latde stones
you can work
cook
build and shelter canoes
learn to navigate

              [early historic period : 1521 ad—1700 ad]

“the dead were buried
beneath the dirt beneath the house
woven into the roots of the latde
close enough to protect [us]

                                                                                    even if [we] were moved?

“even here
yan pago
hasso
i patgon-hu
hasso

Posted in 54: TRANSPACIFIC | Tagged

What What

Three Artist’s Notes for ‘What What Nigger’

“The verbal image which most fully realizes its verbal capacities is that which is not merely a bright picture (in the ususual modern meaning of the term image) but also an interpretation of reality in its metaphoric and symbolic dimensions. Thus: The Verbal Icon.” W. K. Wimsatt, Jr. The Verbal Icon: Studies in the Meaning of Poetry

“If you determine the process starting from its structure, you obtain at least the structural materialism. You avoid the constitution of the real by the subject; you short-circuit the phenomenology of the data of consciousness.” Alain Badiou, Theory of the Subject

“Matter was that which both threatened and offered salvation. It threatened salvation because it was that which changed. But it was also the place of salvation, and it manifested this exactly through the capacity for change implanted in it.” Caroline Walker Bynum, Christian Materiality: An Essay on Religion in Late Medieval Europe


What’s happened to me? Look at me?
What, what nigger.

She did not say anything derogatory to him at any point:
she did not say “fucking niggers,” he did not say
“fuck you, bitch.”
Under her breath, she muttered,
“fucking niggers.”
He said, “bitch, I know you didn’t call me no fucking nigger.”
She lunged at him with the knife; he backpedaled
and swung back. He hit her three times.

She remembered being in first grade with him,
walking hand in hand, and being called gay, wetbacks, and niggers.

Posted in 54: TRANSPACIFIC | Tagged

No Movies

Mobile web motherfucking street party
another attack today

fight like an Egyptian

in Chicano cinema
mouth taped shut
gun taped to your hand

“The Border Patrol swallows
as many shadows as it can.”

She had twenty children, Iztapalapa,
hijos de la chingada

it is accomplished
these streets are full

ghosts hella lay book on fools
who come hang out

Posted in 54: TRANSPACIFIC | Tagged

A Minuscule Map of the Country

(discounting the Coriolis effect)

The antipodean plug lies in a pool, like any other
plug, any other pool, where breasts dunk and voices
drown with the universal two-bob watch.

Nonetheless, a garden gnome or a kangaroo shadow
is plastered into a corner. A painted ear
sprouts a mullet, an AFL flag and a 60s song.

Space is taken by exclamation marks instead of
words or “ah!?”, with pawpaw vaudeville spilling
its guts alongside the oil monster’s teeth.

And landscape looking like toast is topped
by blue wren with worm, on a coast lined
with lashes and strokes, the Australian Crawl.

It is tidal rather than epiphanic, full of blurts
and gurgles, a frenzy of gold drapes discloses
dynamite, a dash of IT, a shout of the white stuff.

The immunity of litter is where the ends
have bled into space, time and a chlorine pool
in transmutation of the surface, blue existence.

Tough your way out of the map via a house of
ain’ts, of club riddles and perks, a terroir of tears
on the coast, and naked lights on whirling hills.

Posted in 54: TRANSPACIFIC | Tagged

Greater Kaohsiung Jaywalking Poem

Everyone’s pinking about us–
Les Enfants, military-joke movies, New Taiwan Flavors become a must

Blue Way jeans, yellow movies, savoring water trades of summer
Fahrenheit Boy Band, blue jokes, the promenading dharma-bummer

I am speeding truck drivers gone manic by the Donggong River
You will become Red, oh Angry Buddha, another new highway deliver!

Sign-glutted, I world past the Nail Queen Boutiques
stroll primordial pasta alleys, laughing Tooth Fairy Dental Cliniques

Me. Love. Love. Me. Café I just may
Pure Tea, Just Drink It, Wufu Third Way arcades say

I take in World Games closing ceremony giving off oceanic savors
containerized shipping-port cast in multiethnic global flavors

Circle Lotus pond, “Taiwan number one” says ex-soldier guiding us around
Chad compares our walk to a forced march round a military-compound

How do I turn left, sir?— “You just take five rights past the Bagel Bagel 5”
But how do I say ‘no’ to this soldier guy?

Foreign Land Ingredients Snack Shop by the subway-entrance clock
3 cops, 2 cyclists, 3 pedestrians give us wrong directions round a block

Formosa Beauty, Formosa Plastic, Birds of Formosa flying free
Asia-Pacific Machine Group becoming Hegelian global-ocean destiny

so many spreading Beetle Nut trees
cover this homeland of shrinking coconut trees

Golden Oldies echo around the world on ICRT
Just Smile Gas Station for the grimacing drivers by the MRT

“Please forgive me, I am nonsense, maybe!”
said a high school student laughing, negating English-as-destiny

if the God-who-will-give-us-money
flips over into the computer screen, worshipping ginseng honey

then “the god who’s a drifting bum” still follows me
Black Pig north, White Pig south, by the Catholic headdress of a Paiwan Mary

bursting yams mangos karaoke food, dreamy semiotics, our summer-fare:
yes it’s the Xtra Rally Gift Shop, you must take the Totoro Bus (but to where?)

Posted in 54: TRANSPACIFIC | Tagged

Day of a Seal, 1820

A tall ship patrols the coast,
pelagic fish are vanishing.
I sniff the kelp and bloodworms,
mould into an eroded kerb
with an akward wriggle of neck, whisking
as if hiding my fur was natural
as instinct for milk, or man.

Tuesday afternoon, Bass Strait’s shadows
ring the slaughter sands.
A man in sandals reeks as he wheels his rage
with a pivot, swings his heft.
A half-caste. I watch him clench the haft,
before the first blow shocks.
He braces and repeats.

Black women from the camps pile our skins
on spits for tobacco, for oil.
Some snatch at birds with their gloves— now
I am weightless as feathers
my arteries shut tight, as if underwater,
the acidosis bearable though
I cannot strike back.

Posted in 54: TRANSPACIFIC | Tagged

On Not Having Encountered Snow, Aged 43

The Siberian whimbrel, all the weight of a human hand
Gestures to the artic wind as it rises, never looking back,
As if the greater insult is to survive winter’s chokehold.
The fingers of its wing feathers adjust reflexively to tiny
Snowflake fluxes like a glove scraping ice off a windshield,
As it leaves behind its dog-bowl shaped nest & two million
Other frozen craters on the tundra. It flees before the cold’s
Pack-ice strength crushes the life out of it; before its food
Reduces like a supply of cut firewood in a Russian folktale.
From this curlew’s eye view; Asian shore habitats chopped
Up by reclamation butchers, their fatty coastlines trimmed
Of their energy. Here, its oil-gauge bill fits the fiddler crab’s
Hole neatly, when it tests the marine engine of our estuaries.
On Nudgee beach, waders muscle up for their flight home.

Posted in 54: TRANSPACIFIC | Tagged

Postcards from ‘The Neon Cactus’

I


‘Mother me, sunlight’. Fashionable mantras
pass the time from one damp hand to the other,
anesthetizing the old embarrassments I am
writing you in order to water down.

The hotelier has me make up the rooms,
tart up the palms with tinsel, insert bin liners
in the hollowed tree trunks, sift shells
and rake sand. The service is bare bones.

The guests are festive, not bothering to save
the paper for next year. To flatten and fold it
is too hard a job, post hubbub. It’s over
pretty quick. Each retreats to fiddle with gifts,

leaving on the pretext of a minor lie,
a counterfeit coin come to bear.
Some come
to prefer the company of statues.


II


Hairy stretches of Highway 1 ooze
through me at inopportune junctures —
the way, after driving all day, one drives
in dreams. Your mind drops you off

and drives on. You hold it against me,
but I can hold it, this wheel-like flotation
device, ring of fear. This is the third beard.
Clearly, I lack the moustache.


III


Becalmed by cutlery snug in their serviettes,
I rise before the guests to swim laps of the legume-
shaped pool. I make up the rooms, fold the edges
of towels to resemble flowers, and garnish with actual petals.

As I write, scaly patterns ripple the pool, filling me
with a pride that is undermined by an image
of your ankle pivoting to reach a kick serve,
effort and innocence visible in a ligament.

The scales turn and you are frozen there
forever. Vulnerable, the word is a mouthful.
The surprise sound of ball against fence.
A winner, down break point, I put down

the pen to pour tiny piles of sugar crystals on
diminutive saucers, anointing each one,
Mt Sweet, High Peak, and see the ladder-rail
from the pool is a pair of italicized R’s,

stars of light knifing their spines. And the past,
we must let it run around exhausting itself.
It’ll sleep better tonight, and fall from us
like pool.

The future is mute,
a belligerent ventriloquist’s doll.
Its lips begin to move,
quite dryly, struggling to part.

Posted in 54: TRANSPACIFIC | Tagged

from High Lonesome

1
Here’s a day I’d like to have back: the first
weekend we stayed at Flock Hill – Ken and Rob,
the gang from the Harbour – in the shepherd’s
cottage with Andy and Liz. The dawn of
the decade, a tawny February,
Jimmy Carter was still in the White House,
I was six months back from Sydney, full of
beatnik derring-do.
Sunday, first thing, grey
and foggy, Rob and I got our hands on
a threadline and caught a brace of skinny
little brook trout to take home for breakfast
(hippie stoneware and gumboot tea at the
big formica table in the Lockwood
kitchen). Andy killed a sheep for the dogs
and stood a while talking to the boss who
pulled up in his Range Rover. ‘Andrew, you’re
not going to work today’, warned Liz, and
he waved her away, laughing shyly. Ken
said, ‘Hey Sis, where’s your guitar?’ and Liz came
out with her lovely old Maton, and rolled
up a joint – she was pregnant, not smoking, but the
rest of us got stoned as crickets – and she
fetched her autoharp as well, and out came
the old family songbook. And we were
family, too.
Back then, to hear Ken play
guitar, his flat-picking so crisp and sure;
and Andy, cigarette glued to his lip
as he rattled off those locomotive
banjo rolls, Earl Scruggs in hobnails and home-
spun jumper, tearing into ‘Eight Miles to
Louisville’ and ‘Armadillo Breakdown’.
Then Ken on mandolin, Liz on guitar
and singing, her fluid soprano, un-
studied and effortless.
So . . . did part of
me want to say Aw c’mon! to that bad,
old white-trash gospel? Maybe. Yet I was
hearing something else as I gazed out the
window of that kitset kitchen at the
wide hay paddock opening green where it
sloped to the lake at the foot of the blond
mountain. Giants had laboured here, it seemed,
and left behind hay-bales tall as houses,
hay to feed every last sheep in the
high country, broadcast over the prairie
like megalithic knucklebones. And the
cottage echoed with our sober joy, and
as Ken’s mandolin figures flowed like spring
water and those tight, lonesome harmonies
lifted the roof, I knew, as you do when
you’re high, that, yes, I was family too.

2
But what can I say about the City,
its vapours, its wickedness? There, once again,
we were mostly confounded. We took off
our clothes and played our instruments in the street.

Sometimes months would turn into years as we
failed to accomplish the simplest thing. As if
our young bodies would forgive us anything, we steeped
them in poisons and tortured them with improvised jewellery.

Vehicles were driven heroically:
to Kaikoura for a crayfish, to the Coast for a plait of garlic,
to the badlands of Bishopdale to liberate a cactus
and render it down to a noisome liquor.

Friends embraced, then sheared off,
trailing cinders. One joined an oil firm and learned to use a sjambok;
others found the saffron-coloured East and set out to fuck their way
to enlightenment. A climber was last seen hefting an ice-axe,

face an ardent cathode blue, carving
footholds in the lath-and-plaster as if he meant to walk upside-down
on the ceiling. One fell asleep with his head in a bass bin
and woke with an evil tinnitus he mistook for the voice of God.

Bait-fishers, skate-punks and other degenerates
crowded the lanes of the liquormart.
Diet pills flattered the will to intelligence.
One joined the army for a weekend but later thought better of it.

We had not given up on our elders, but their choices
were now unhelpful: they handed in their weapons
and worked for the government; a cousin
imported half a pound of heroin and left it on the tarmac.

Somebody’s uncle
beavered away at a fictitious fiction the size of a
garage, and no one was so indelicate as to inquire
when it was likely to be completed.

Still, despite everything, we looked to the mountains.
Thick cream of winter, blue of mid-summer,
we’d climb to the rim of the harbour
simply to feast our eyes on them.

From Mt Aspiring to Tapuaenuku, their granite
imperative ringed the horizon, and Erewhon,
Kekerengu, Algidus, Flock Hill, the names of
those elevated stations were one more voice in our confusion.

Posted in SIX SEATER | Tagged ,

Conversation with My Uncle

the last time we spoke about it you told me
how she had raised the glass high in the air
and poured the beer all over his head
now don’t try to tell me that wasn’t what you said
or I’m a monkey’s uncle

he brought her a cake he bought her a ring
and what did she do when she got those things?
she swallowed the ring and she opened the sash
threw out the cake and slammed the window crash
or I’m a monkey’s uncle

don’t tell me you were pulling my leg
and now you’ve decided to pull the other one
when he came home drunk on his nose was a peg
she opened the door and showed him a gun
or wasn’t that how the story went

long ago and far away is no excuse
now they’re both dead the farm’s been sold
he was a bastard she had a screw loose
or at least that’s the story I was told
by that magpie in that tree

in the tree out of the tree who’s to say
whether the story went that or this way
the good old days are better when they’re gone
that’s not a magpie I’m sure you’re wrong
that’s a monkey don’t you see

Posted in SIX SEATER | Tagged ,

experiments (our life together)

here is my experiment with the dark

we run to the top of the street and crossing it
become aware of the fountain’s lip and mosaics
under water pink blue hyaline we step through
the foot bath yes the gold leaf is holding on

here is my experiment with stars

it is a dormitory on the top floor this two o’clock
the babies wrapped loosely in sheets asleep
and somehow not falling out of their little moulded beds
the blinds drawn down the afternoon heat

here is my experiment with humours

aqueous the home movie
tears on the lens and always the return
to rivers their flumes and fumeroles
so plural so carrying so carried away

here is my experiment with light

which leaves me now the dear shapes
gone to sound the end wrapped around
the beginning a piano in a dark room that is
quite what it is like and never the same

here is my experiment with river

memory and the wind ruffles her hair
there are no fences on the sun only a truck
bouncing on the flood its wheels gone and us inside
scared to death and still steering

here is my experiment with rain

we swim and let the current take us
where it will which is some toehold around
the corner under cliffs of black honeycomb
the saltwater pool afloat on its concrete rim

here is my experiment with amygdala

in the morning we find a bar and marmelata
as the sun comes up and the streets are cool
a slice of duomo at the end of each stony block
an orchestration a theatre of the mind

here is my experiment with immanence

who was waiting there who was asking me
to look at heaven from the end of a dark wharf
and when I did when I raised my empty eyes
the city was there a necklace of light a horizon

here is my experiment with periphery

who was asking me not to forget
rippling scales in another room a gallery
at the top of the stairs a cupola a vault
a canopy a river of light on the ceiling

Posted in SIX SEATER | Tagged ,

Floating Ribs

for Panya Kraitus and Pitisuk Kraitus

The bottom ribs
On both sides
Of the body
Are fragile
Easily broken
They are
Floating ribs
If struck
By a kick with the foot
A knee kick down
From above
A swinging knee kick around
From the side
The result is
Debilitating pain
For the opponent
If the boxer
Delivering the blow
Kicks repeatedly
Floating ribs
Fracture.
And what is this
But life?
Said the Muay Thai Master

Clavicle

This bone is brittle
Easily broken
Keep this in mind
Always
If it breaks
The shoulder will sag
As happened to Thai boxer
Chatraphetch Kiakawkeo
Against Kumanthong Lukprabaat
On January 23, 1978.
And what is this
But life?
Said the Muay Thai Master

Solar Plexus

Even though
This is not
A point to which
A single blow
Can bring a boxer down
Repeated punches
To it
Can be powerfully
Debilitating
Since it lies
Near the heart
It is especially dangerous
If hit hard
Ribs can be broken
Spear the heart
Resulting in death.
And what is this
But life?
Said the Muay Thai Master

Inner Wrist

This point can be dangerous
In delivering
And receiving blows
In delivering a punch
If not done correctly
It can be
Dislocated
Receiving a kick
May also
Dislocate it.
And what is this
But life?
Said the Muay Thai Master

Shins

One of the strongest
Parts of the body
Also
Vulnerable
The bone at the center
At the front
Is brittle
Fractures easily
A powerful blow
As when
You block a kick
Can break it
And what is this
But life?
Said the Muay Thai Master

Point of Chin

The chin can be reached
With a jumping knee kick
A floating knee kick
Where the left foot
Is raised
From the ground first
Then the right knee kicked up
Powerfully
To the opponent’s chin
So that the body leaves the ground
Or with an elbow jab
As Phudphaadnooi Worawuth did
When he won over
Huatrai Sitthi-boonlert
When no one thought
He had the remotest chance
Of winning.
And what is this
But life?
Said the Muay Thai Master

Groin

In the old days
80 years or so ago
Fists were bound with twine
No groin-guards were used
Thai boxers fought without
Shields
Only kapok-stuffed triangle cushions
Under loin cloths
The great Thai boxing teacher
Ae Muangdee brought
Metal shields from Singapore
Making it safe from
Hard kicks delivered
With foot or knee
In the opinion of the writer
Anyone not prepared to protect
This part of the body
Should not be a
Thai boxer at all.
And what is this
But life?
Said the Muay Thai Master

Armpit

Failure to guard
During a match
Can lead to defeat
A strong upward kick
To it
Can tear the shoulder
Tendons and ligaments
Badly dislocate it.
And what is this
But life?
Said the Muay Thai Master

Philtrum

The area above
The upper lip
Is a prime spot
For the boxer looking
To knock out his opponent
Close to the nervous system
Like all points close to the nose
When struck it causes tears
To flow
Weakening the opponent
And what is this
But life?
Said the Muay Thai Master

Hollow of Knee

If not protected
If exposed to repeated blows
A boxer can collapse
Lose a match
And what is this
But life?
Said the Muay Thai Master

Posted in SIX SEATER | Tagged ,

Flood Monologue

You never discussed the stream
and no doubt the stream didn’t want

your discourse (its own merry way)
but now that you live by the stream

a mosquito has come up the bank
and bitten you, and the stream

is in your bloodstream. You buff
the site of entry like a trophy.

Your chuckling new acquaintance
takes your cells out to the sea.

                              *

It goes all night, you tell your friends
drinking wine to warm the house

(already warm), and laugh of course
like a drain. Later in your roomy

queen you listen to its monologue –
ascending plane that never reaches

altitude. Your fingers stretch
from coast to coast to try it out,

this solitude, while water thumps
through the riverbed.

                              *

You’re not exactly on your own.
Teenagers come and go, the screen-door

clacks, Cardinals mob a little temple
hanging in a tree. A neighbour with a bag

of seeds asks you if you mind
the birds. There is that film, and the flu,

but no. In the mornings earlyish
you slide the rippling trees across

(Burnham Wood) and watch
six parrots lift like anti-gravity.

                              *

At sunset a rant about the dishes –
you’ve worked all day, unlike

some people! The tap runs. The sun,
tumbling over Waikiki, shoots through

the trees, gilds the stream (unnecessary),
stuns you in the empty room. Every day

for ten years (you realize, standing there)
you’ve crossed the bridge etched Mānoa

Stream, 1972, back and forth,
except the day the river rose.

                              *

Some facts: Mongooses (sic) (introduced)
pee into the current, plus rats and mice,

The stream is sick. All the streams.
Mosquitoes -your messenger and those

that bit the teenagers whose young blood
is festive like the Honolulu marathon –

could carry West Nile virus. Often fatal.
Probably don’t, are probably winging it

like you, and you will go your whole life
and only die at the end of it.

                              *

The stream doesn’t look sick. It takes
a pretty kink near your apartment.

The trees are lush and spreading
like a shade house you once walked in

in a gallery (mixed media). The water
masks its illness like a European noble

with the plague – a patina, and ringlets.
You’re pissed about the health issues

of the stream, and healthcare, because
it has your blood, you have its H2O.

                              *

You think it’s peaceful by the stream?
Ducks rage, waking you at 2am,

or thereabouts. Mongooses hunt
the duck eggs, says your son. Ah, you say.

That night the quacks are noisy, but
you fret in peace. Sometimes homeless

people sleep down by the river bank.
Harmless. One time one guy had a knife.

They still talk about it and you see him
ghostly like an app against the trees.

                              *

All your things are near the stream,
beds, plates, lamps – you’re camping

apart from walls and taps and electricity.
Your laptop angles like a spade,

and clods of English warm the room
(already warm). They warm your heart.

Overall you have much less, because
of course – divided up. But you’re lucky

or would be if the stream was squeaky
clean, and talked to you.

                              *

The stream had caused a little trouble
in the past, i.e., the flood. Not it’s fault.

900, 000 people pave a lot, they plumb
a lot. Then rain like weights. From a safe

distance (your old apt) you watched
your little water course inflate and thunder

down the valley taking cars, chairs, trees.
You saw a mother and her baby rescued

from a van – a swimming coach, with ropes –
the van then bumbled out to sea.

                              *

One apartment in your complex
took in water in the flood. And mud. It was

this apartment. You’ve known it all along,
of course, because you watched.

They fixed it up. Lifted carpets, blasted
fans for a week. Repainted.

It’s pretty good. The odd door
needs a shoulder still. In certain lights

though, on the wall, a watermark,
the stream’s dappled monogram.

                              *

You’re talking clichés – water under
the bridge, love letter from a lawyer,

serious harm, sunk without you.
The stream has been into your bedroom,

and you in its. Remember reeds, coolness,
summer afternoons. You loved

the stream. Its stinging waters send
a last message in lemon juice:

If I’m fucked, you’re coming with me.
Sincerely, the stream.

Posted in SIX SEATER | Tagged ,

I Spilled My Story

                                                       a raft plunged …

            picadored green people tethered to years wend their way, squawking about an
adventure without a conch, conversation you could swim in, also magnify …

                                    bubbles … well-warped logicians … ionised passages

            a deep-freeze refrigerates escapades and layers link the lake

                        the ice harvest

            V-shaped bars scene perched in Voice: loud hoo-hoooo … bee, ze, ey,
ay … headlamps, holes in the skull            saw and lift off… to enlarge we head
upstairs over to the room full of holes … sylvan slums

                                                O bright suit, white from place of the cruel rook, return
then be done

                                    (antiques draped in velvets)

            moth wired in the aquarium            (this scene is allowed)

voice ambushes and we are built to divine perseverance, orange amplified
with cedar-beak : interior wall … active aviary … bees breeze

Posted in SIX SEATER | Tagged ,

Daylesford Food Commons Map

Daylesford Food Commons Map

Posted in UNIVERSAL ARCHIVE | Tagged

Three Chinese Silences

Chinese Silence No. 22
after Billy Collins, ‘Monday’

The Italians are making their pasta,
the French are making things French,
and the Chinese cultivate their silence.

They cultivate silence
in every Chinatown on the persimmon of earth–
mute below the towers of Toronto,
silently sweeping the streets of Singapore
clear of noisy self-expression.

The Americans are in their sport utility vehicles,
the Canadians are behaving reasonably,
but the Chinese remain silent
maybe with a cup of tea or an opium pipe
and maybe a finger puzzle or water torture is involved.

Or maybe the Chinese are playing the Chinese
game of ping-pong,
the pock-pock of the ball against their tight-lipped mouths
as their chefs dice scallions and bean curd.
The Chinese are silent
because it is their job for which
I pay them what they got for building the railroads.

Which silence it is hardly seems to matter
though many have a favorite
out of the 100 different kinds–
the Silence of the Well-Adjusted Minority,
the Girlish Silence of Reluctant Acquiescence,
the Silence that by No Means Should Be Mistaken for Bitterness.

By now, it should go without saying
that what Crocodile Dundee is to the Australian
and Mel Gibson is to the Scot,
so is silence to the Chinese.

Just think–
before I invented the 100 Chinese silences,
the Chinese would have had to stay indoors
and gabble about civil war and revolution
or go outside and build a really loud wall.

And when I say a wall,
I do not mean a wall of thousands of miles
that is visible from the moon.

I mean a noisy wall of language
that dwarfs my medieval battlements
and paves the Pacific to lap
California’s shores with its brick-hard words.

Chinese Silence No. 24
after David Sedaris, ‘Chicken Toenails, Anyone?’

We are all just animals
a pinch of human feces
scrambled eggs duck tongues
tentacle-like roots

What do you say
we go oriental?
And the egg rolls …
can you imagine?

They allowed you to brown bag
wads of phlegm
in the men’s room of a Beijing subway station
I looked at her thinking, You whore

I have to go to China
I’ve never looked forward to it
like twice-baked potatoes
or veal parmesan

It’s more real
I could dislike it
more authentically
than the sound of one person

then another
dredging up seeming
from the depths of my soul
using the other as a blowhole

In China something kept holding me back
the leg, the breast, etc.
hacked as if by a blind person
made entirely of organs

Yes, I must
shit in the produce aisle of a Chengdu Walmart
Yes, I must
disintegrate in the western-style toilet

Chinese Silence No. 46
after David Gilbey, ‘Intercultural Communication’

At the end of this poem my readers, true blue Aussies,
will buy me a beer at a dingy suburban pub.
Ply me with pies, burgers, and schnitzel
and charge it to the Chinese guy in the corner.

To return the favor, I will recite
my newly composed poem on Chinese silence
with its girls hiding their giggling mouths with their hands.
They call me mister. But I will change one of their vowels,
using the privilege of the international writer,
and make myself their master.

Everyone’s silent after my orientally delivered words.
What did I say? I’ll ask, my voice quiet as a girl’s.
But the joke’s on me. My listeners’ Chinese faces
say, now let’s hear you say that in a country of women.

Posted in UNIVERSAL ARCHIVE | Tagged

Dromes 1 & 2




Posted in UNIVERSAL ARCHIVE | Tagged ,

Arrangement of Manteia y marionette

In this performance excerpt, recorded live at Montsalvat on November 8 2012, Jessica L. Wilkinson teams up with composer Simon Charles and ensemble Manteia to articulate the threads of marionette’s broken narrative while preserving its ever-elusive quality.

Poetry: Jessica L. Wilkinson

Composition and musical direction: Simon Charles

Performers:

Jenny Barnes (voice)
Simon Charles (electronics)
Matthew Horsely (percussion)
Kim Tan (flutes)
Samuel Pankhurst (double bass)
Jessica L. Wilkinson (spoken word)

Manteia y marionette | (36:47)
[audio:http://cordite.org.au/audio/wilkinson_charles3.mp3|titles=Manteia y marionette – Jessica L. Wilkinson and Simon Charles]
Jessica L. Wilkinson and Simon Charles

Posted in UNIVERSAL ARCHIVE | Tagged ,

Shimmy

Short on shimmy
they took to the disco
with a resounding

whomp of white
& solid silver
waves of wire;

a platform
to berate from,
a wag the dog diorama;

wearing only your shadow
& shouting
to the stomping throng

a backroom
storm shelter, a platform
euphoria, plagued your

halfway to decent
anti-progressive, rational
yet strident monologue

pitched at doomsayers
of the glitterati, low-lobbers
& pinch-hitters

who’d forgotten
how their IDs were burned
back in the days before credit

slalomed through car
dealerships & foaming
restaurants

leaving only ‘the market’
to determine aesthetics
& solicit

dinner dates
where an oasis
was a hedge fund

leaking liquid security
where trade isn’t free
& big bubbles can fry

a factory superstar:
crystal ball shimmering
in the trash, Chelsea Girls

worn & scratchy prints
ditched as war begins –
black monday, 1987

flickers left of field
& radiators are left
glowing through summer

as they loose a lemma
on the the green valley
of silliness

or call the bananas
out of the republic: the proposal
we just had to have

& grew to love
as much as anything
that might save us from ourselves

or shakedown trance
at one hundred & fifty beats
per minute –

fast enough
to blast extreme sports
off the mountains

& rattle
sheer glass walls
of a tycoon’s penthouse

yet not powerful enough
to change the way
we live

in Cold War bunkers
abandoned only because
they’ll hold out none of the blast

while they wait for recuperation
as delirious museums,
squatting

where tektites
rain down through
glorious night’s sunshine

& marsupials skitter
& forage
like strewnfield wastrels

counting on fine bones
dazzling paleontologists
& amusement park operators

whose scandium-lit roundabouts
take science
for a ride

which is tantamount
to messing under
the hood

when you don’t know anything
about it, not engineering,
not nuthin

to shimmy by
when the moon is lustrous,
a beacon through space junk

sensitizing bruise & swoon
where we flounder
in waves of static

swooning & schmoozing,
collating best hits lists,
stuck on K-Tel’s Ripper ’76

that nobody remembers,
it’s the latest constraint –
the no-nostalgia radio list

we fret over, squabbling
over the slice, the ear-horns
and his master’s voice

booming from the box
locking & popping & flipping –
impossible to mix

the schmooze, the swoon,
those ear-horns & hits,
platform shoe extravaganzas –

I’ve got all my life to live,
I’ve got all my love to give
& I’ll survive, I will survive, I will survive

Posted in UNIVERSAL ARCHIVE | Tagged ,

Blue or White

cento for Kate Fagan

the world was a little darker
before it was blue
brilliant as nowhere special to go
you could try double blinds
machines parody all future empires
say goodbye to the supermarket.
unbearable authority makes me dizzy
shocked by faultless mathematics
technicolour pesticides and diesel slops,
i turn away ekphrastic
into a new present
of geometry and truth, neo-conservative
precision, anachronisms make truth
a panacea for ego, and the gesture
troubles me, still asking
opposite questions –
talk less, mark slow time,
draw inconclusive ends, hope resting
with invention

Posted in UNIVERSAL ARCHIVE | Tagged ,

(untitled)

in two hundred and fifty thousand years
my sludge of waste might lose its poison
but nothing’s set in stone
except the joy and anguish of being here
with one week to practice what we believe
but can we sleep it off or at least die trying?
my sincere apology to mother earth
as glaciers melt around us
and wild winds rattle the lattice
and thunder claps the hell out of the world
and sheet lightning spears and spins the sky
now, with a mathematician’s belief I throw things around
and make this defunct world my theme song
though I know the theory of connection
between music and maths is a myth
I’ll continue singing against all odds,
I’ll cheat that physics and I’ll cheat nature
and keep a layer of lyrics between the world and myself
and convince my friends to come for dinner
despite the weather man’s threats to throw his things around –
to chuck the astrolabe, the vane, the compass, the spirit level,
out the window where he wants to lean to finger the breeze
or lick the air without having to answer to anybody
he said, keep me alive folks, please do,
it’s not my fault I simply make the forecasts
yet it is your own sin to believe them

Posted in UNIVERSAL ARCHIVE | Tagged ,

A disjoint, truncated tale of a war between war and peace, comprising diverse developments of sexual perversion and environmental military hardware, which culminates or concludes, rather more calumniatory than acclamatory, in a veritable orgy of elite tourism, boutique comestibles, property investment portfolios, and marketing sallies, all those grandiloquent techniques directed towards the incitation, inculcation, inflection and enhancement of primordial polymorphous psychophysical pleasures

No end if fits tail a swarm. Ra stops
to house heat, lines rap across IP loco,
torpedo, teargas. A ‘Parc de Nord’ spilled Om.
Reeled inset ibis eats — flee it nude!
Lite-sabre laser spots play about. Teats ahoy!
A piled table greens, and — oh! —
gnu gods appall, li-knack car crawl lams.
Gulfless time rats race to tase me.
If only diet is, eh, trap not esteemed is?
A sad ab sags unabed. Deer sleep tidal at rams.
Dora was onus, rime-top, otiose in tuna trauma.
I wondered ampered as a crone, dross imperial on my hand.
Spank car wrote of traps. I spark eros, ere sore star desire time.
Mo hetup error, retool, live! Ewe be wrong, obstinate egg of fire!
Ebb empire hand, ill ire ‘pon God.
Dab at pan, I saw one ill apsis stop.
Back, cape rot! Toll old Amos, spin.
Nips so mad. LOL. Lot tore pack cab.
Pots, Sis, pal lie. No was I. Nap.
Ta Bad Dog. No Peril Lid, na, he rip me.
Nab beer if fog. Gee. Tan its Bognor!
We be weevil. Loot, err, or repute home.
Mite rise drats eros, ere sore kraps is part.
Foe tor wrack naps. DNA hymn. O lair EP,
Miss Orden Orca, Sade Rep. Made red,
Now I am. U art a nut, Nie Soi, to pot emir sun.
O, saw a rod, smart a lad! It peels reed.
Deb anus gas bad as a side meet set on par.
The site, idyl? No! Fie mesa, tote car!
Star emits self. Lug. Small war crack can kill
Lapp, as do gung-ho DNA. Sneer.
Gelb at deli pay, oh Asta! Et tu, O bay?
Alp stop, resaler base tiled. Untie elf’s teas.
I bite, snide leer. Model lips droned
crap as a great ode. Protocol: piss, or cap arse.
Nil tea. He, sou-hot, spots arm,
raw Sali at stiff id neon.

Posted in UNIVERSAL ARCHIVE | Tagged

Catullus 85

translated by Charles Bernstein

Odi et amo. quare id faciam, fortasse requiris.
nescio, sed fieri sentio et excrucior.


Hate and love. Why’s that?, you’d ask
Don’t know, I feel it and it’s torture.



Richard Tuttle started off with:

All I do is hate and love. Why, you might ask?
I don’t know, but it is the cause of torture.



For reference I checked:

Louis Zukofsky:
O th’hate I move love. Quarry it fact I am, for that’s so re queries.
Nescience, say th’ fierry scent I owe whets crookeder.

Peter Green:
I hate and love. You wonder, perhaps, why I’d do that?
I have no idea. I just feel it. I am crucified.



There were many drafts:

Love and hate. Query: why’d I do that?
Don’t know, just sense it & it’s excruciating.

Odious & amorous. Hey: why’d I do that?
Beats me, just feelings & I’ve been crucified.

Hating & loving. Why do I do that?
Beats me, just feelings & excruciating

Odious & amorous. Hey: why I do that?
Beats me, just feelings & I’ve been crucified?

Hating & loving. Query: why do that?
Beats me, just feelings & I’ve been crucified.

Odious and amorous. Hey: why’d I do that?
Beats me, it’s just my feelings & I’ve been crucified

Odious and amorous. Hey: why’s that?
Beats me, just my feelings & I’m crucified

Odious and amorous. Query: why’d I do that?
Don’t know, just sense it & it’s excruciating.

Posted in UNIVERSAL ARCHIVE | Tagged ,